Music Trade Review
Issue: 1920 Vol. 70 N. 17 - Page 10
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THE
10
THE POINT OF VIEW
(('ojitinucd from page 9)
hand the prestige of the grand piano will suffer,
for attempts will be made to produce cheap
grands. Such attempts will fail, but not until
they have diminished seriously the present re-
pute of the grand piano. On the other hand,
the supersession of the upright piano would cer-
tainly mean that many who might learn to play
by hand would not do so. This "would be a
calamity, for it must be remembered that if we
ever limit the opportunities for music study
and practice we shall destroy the cultivation of
the art in this country, dry up the springs of
MUSIC
TRADE
REVIEW
musical inspiration and thus root out the very
foundations on which all our player business
is built. It is plain that no such plan as this
will work to anybody's advantage. Let us be
wise as well as enthusiastic, and remember that
the player business depends upon the existence
of a living art of music. This art, to a very
great extent, rests upon the teaching and play-
ing of the piano. The straight upright has its
place to fill. It must not be pushed aside.
The Old Contest
When tuner meets salesman then comes the
tug-of-war, and the ground of contest is very
MORE ABOUT MUSIC ROLL PRICES
NEW CONCERN IN RIPON, WIS.
S. W. Christine Replies to Some Statements by
Geo. H. Bliss, Published Recently
The Co-operative Piano Co. has arranged to
open warerooms in Ripon, Wis., where several
lines of pianos and talking machines will be
handled, as well as player rolls, sheet music,
etc. A battery of sound-proof booths is being
installed for the convenience of customers.
S. W. Christine, of Christine Bros., music
dealers of Bangor, Pa., whose comments on
the music roll situation, as published in The
Review same weeks ago, brought a lengthy re-
ply from George H. Bliss in defense of the
music roll manufacturers, has taken issue with
Mr. Bliss on some statements made by the lat-
ter. In reply Mr. Christine says in part:
"In answer to my friend Bliss's statement
that record manufacturers made twenty-nine
records instead of nineteen as I claimed: All
right, then, we will admit that it was twenty-
nine, but we sell a double-faced record at the
price of one, or 85 cents for what the roll buyer
would have to pay from $2 to $2.50 for. I was
willing to pass it along as one record, but if
Bliss insists we will call it two and make it
more odious by price comparison.
"When it comes to price increase I would
like to call to mind a few rolls made two or
three years ago when prices were as follows:
"Allah's Holiday," fox-trot, 50 cents; "A Little
Bit of Sunshine," 60 cents; "There Are Two
Eyes in Dixie," 50 cents. These were the pop-
ular sellers in their day. The fox-trots and one-
steps to-day with words are $1, $1.25 and a few
are creeping in at $1.50; in other words, for the
addition of the words the price has doubled and
more, and they are trying to see if the public
will stand tripling the price.
"As to the cost of making a record, Mr. Bliss
only touches the surface when he tells of the
raw material used. How about the cost of mak-
ing matrices, the number of processes the raw
material goes through before it becomes a rec-
ord, the two royalties to publishers, the cost of
the orchestras or accompanists and last but not
lease the royalties to singers? I would imagine
the cost of one double-faced record ought at
least be as much as the expensive material used
in a roll and the expensive help used in the
making of it.
"I would like to wager $100 with Mr. Bliss that
the same fifty-six dealers out of the eighty-two
who voted 'no expression' on a roll would also
just as leave sell hurdy-gurdys if the public
would fall for it. This 'no expression' business
is what leads the next door neighbor to say, 'I
wouldn't have one of those tin pans for a gift.'.
You have heard this, T'll wager.
"My friend Bliss also tells us what big sums
the publishers are spending in advertising. Well,
my answer would be this: Advertising makes
a dollar razor sell at $5 as fast as they can be
made. These same publishers are wide awake
enough to see that the same thing will sell 10
cent music at 30 cents. How many pieces do
you and I know that made their debut as 10
cent numbers and are now selling at 30 cents
and .35 cents? Mr. Bliss knows better when he
• says 'If the publishers are willing to take the
chance.' There is no chance; if properly adver-
tised the goods will sell. They know this and
are doing the job properly. The last statement
about royalties, I think, is at least fifty-fifty.
If anything, more is paid by the record makers
as stated in my third paragraph. The roll mak-
ers, in my mind, are overdoing the price ques-
tion, the same as many other lines. It's a case
to-day of getting while the getting is good."
APRIL 24, 1920
often the well-worn field called "care of the
piano." Whatever else one may say about it,
it is obvious that the care of the player-piano
presents an even larger problem and one on
which there is just as little tendency to agree.
The point of difference appears to lie between
the tendency of the salesman to decry the
necessity for repairs and maintenance and the
prejudice of the tuner in favor of the same.
The tuner is more nearly right. It is time for
dealers and salesmen to recognize that the fail-
ure to organize the maintenance departments
of the retail trade constitutes a serious weak-
ness, which finds expression in the attitude of
the public towards the player-piano, an atti-
tude partly of admiration, partly of awe and
partly of contempt. We have too long hidden
our faces from the truth and tried to persuade
ourselves that we need not worry about these
matters. But we have been wrong. The organ-
ization of tuning and maintenance furnishes a
live issue and the player industry will be very
foolish if it does not begin forthwith to recog-
nize this truth.
"Persistent Player Progress!"
No matter what abnormal conditions may have
reigned, no matter what excuse may have been
urged, the policy of the makers of the
M. Schulz Co. Player-Piano
has always been expressed in the words which
stand at the head of this advertisement.
The Schulz Player-Piano of 1920 pre-
sents new refinements, new beauties
of workmanship and musical effect.
Detailed information as to the sales making
features of the industry's greatest player success
will be furnished to all who are interested.
Incidentally, please note that more than
150,000 Schulz pianos and player-pianos
have been made and sold to date.
M. SCHULZ COMPANY
Founded 1869
General Offices
Schulz Building
711 Milwaukee Are.
CHICAGO
Southern Wholesale Branch
1530 Candler Bldg.
ATLANTA, GA.
THE
10
THE POINT OF VIEW
(('ojitinucd from page 9)
hand the prestige of the grand piano will suffer,
for attempts will be made to produce cheap
grands. Such attempts will fail, but not until
they have diminished seriously the present re-
pute of the grand piano. On the other hand,
the supersession of the upright piano would cer-
tainly mean that many who might learn to play
by hand would not do so. This "would be a
calamity, for it must be remembered that if we
ever limit the opportunities for music study
and practice we shall destroy the cultivation of
the art in this country, dry up the springs of
MUSIC
TRADE
REVIEW
musical inspiration and thus root out the very
foundations on which all our player business
is built. It is plain that no such plan as this
will work to anybody's advantage. Let us be
wise as well as enthusiastic, and remember that
the player business depends upon the existence
of a living art of music. This art, to a very
great extent, rests upon the teaching and play-
ing of the piano. The straight upright has its
place to fill. It must not be pushed aside.
The Old Contest
When tuner meets salesman then comes the
tug-of-war, and the ground of contest is very
MORE ABOUT MUSIC ROLL PRICES
NEW CONCERN IN RIPON, WIS.
S. W. Christine Replies to Some Statements by
Geo. H. Bliss, Published Recently
The Co-operative Piano Co. has arranged to
open warerooms in Ripon, Wis., where several
lines of pianos and talking machines will be
handled, as well as player rolls, sheet music,
etc. A battery of sound-proof booths is being
installed for the convenience of customers.
S. W. Christine, of Christine Bros., music
dealers of Bangor, Pa., whose comments on
the music roll situation, as published in The
Review same weeks ago, brought a lengthy re-
ply from George H. Bliss in defense of the
music roll manufacturers, has taken issue with
Mr. Bliss on some statements made by the lat-
ter. In reply Mr. Christine says in part:
"In answer to my friend Bliss's statement
that record manufacturers made twenty-nine
records instead of nineteen as I claimed: All
right, then, we will admit that it was twenty-
nine, but we sell a double-faced record at the
price of one, or 85 cents for what the roll buyer
would have to pay from $2 to $2.50 for. I was
willing to pass it along as one record, but if
Bliss insists we will call it two and make it
more odious by price comparison.
"When it comes to price increase I would
like to call to mind a few rolls made two or
three years ago when prices were as follows:
"Allah's Holiday," fox-trot, 50 cents; "A Little
Bit of Sunshine," 60 cents; "There Are Two
Eyes in Dixie," 50 cents. These were the pop-
ular sellers in their day. The fox-trots and one-
steps to-day with words are $1, $1.25 and a few
are creeping in at $1.50; in other words, for the
addition of the words the price has doubled and
more, and they are trying to see if the public
will stand tripling the price.
"As to the cost of making a record, Mr. Bliss
only touches the surface when he tells of the
raw material used. How about the cost of mak-
ing matrices, the number of processes the raw
material goes through before it becomes a rec-
ord, the two royalties to publishers, the cost of
the orchestras or accompanists and last but not
lease the royalties to singers? I would imagine
the cost of one double-faced record ought at
least be as much as the expensive material used
in a roll and the expensive help used in the
making of it.
"I would like to wager $100 with Mr. Bliss that
the same fifty-six dealers out of the eighty-two
who voted 'no expression' on a roll would also
just as leave sell hurdy-gurdys if the public
would fall for it. This 'no expression' business
is what leads the next door neighbor to say, 'I
wouldn't have one of those tin pans for a gift.'.
You have heard this, T'll wager.
"My friend Bliss also tells us what big sums
the publishers are spending in advertising. Well,
my answer would be this: Advertising makes
a dollar razor sell at $5 as fast as they can be
made. These same publishers are wide awake
enough to see that the same thing will sell 10
cent music at 30 cents. How many pieces do
you and I know that made their debut as 10
cent numbers and are now selling at 30 cents
and .35 cents? Mr. Bliss knows better when he
• says 'If the publishers are willing to take the
chance.' There is no chance; if properly adver-
tised the goods will sell. They know this and
are doing the job properly. The last statement
about royalties, I think, is at least fifty-fifty.
If anything, more is paid by the record makers
as stated in my third paragraph. The roll mak-
ers, in my mind, are overdoing the price ques-
tion, the same as many other lines. It's a case
to-day of getting while the getting is good."
APRIL 24, 1920
often the well-worn field called "care of the
piano." Whatever else one may say about it,
it is obvious that the care of the player-piano
presents an even larger problem and one on
which there is just as little tendency to agree.
The point of difference appears to lie between
the tendency of the salesman to decry the
necessity for repairs and maintenance and the
prejudice of the tuner in favor of the same.
The tuner is more nearly right. It is time for
dealers and salesmen to recognize that the fail-
ure to organize the maintenance departments
of the retail trade constitutes a serious weak-
ness, which finds expression in the attitude of
the public towards the player-piano, an atti-
tude partly of admiration, partly of awe and
partly of contempt. We have too long hidden
our faces from the truth and tried to persuade
ourselves that we need not worry about these
matters. But we have been wrong. The organ-
ization of tuning and maintenance furnishes a
live issue and the player industry will be very
foolish if it does not begin forthwith to recog-
nize this truth.
"Persistent Player Progress!"
No matter what abnormal conditions may have
reigned, no matter what excuse may have been
urged, the policy of the makers of the
M. Schulz Co. Player-Piano
has always been expressed in the words which
stand at the head of this advertisement.
The Schulz Player-Piano of 1920 pre-
sents new refinements, new beauties
of workmanship and musical effect.
Detailed information as to the sales making
features of the industry's greatest player success
will be furnished to all who are interested.
Incidentally, please note that more than
150,000 Schulz pianos and player-pianos
have been made and sold to date.
M. SCHULZ COMPANY
Founded 1869
General Offices
Schulz Building
711 Milwaukee Are.
CHICAGO
Southern Wholesale Branch
1530 Candler Bldg.
ATLANTA, GA.
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